Film & Media Studies

This course examines practical elements of studio-based television production.

This course covers the history of Korean and Hollywood cinema of the last 100 years by highlighting key trends, actors, directors and movies. It also outlines the history of world cinema to illustrate their impact and influence on Korean cinema and vice versa. By evaluating selected works that comprise each genre and a certain era, not only do we trace the history of Korean cinema but also Hollywood and its relationship to global popular culture and historical representation. 

This course examines the genre of film as a key medium for the representation of children’s literature.  It will take a number of children’s ‘classics’, as well as three key 21st century novels for young readers, and considers how they have been adapted and interpreted in diverse ways, using varied film technologies, as entertainment objects for children, family and adult audiences. Topics will include: the emergence of cinema as a storytelling tool; development and impact of animation and special effects technologies; the importance of fairy tales in the development of children’s media; theories of adaptation; child-centred storytelling; theories of audiences and spectatorship; genre; fantasy; gender; humor and the grotesque; horror and the uncanny; and contemporary dystopian film and fiction. 
 

This course addresses key developments in contemporary digital culture. It focuses on how still and moving images, and art and visual culture in general change with the triumph of big data analytics and artificial intelligence. The course is structured around concepts key to such developments, such as the user and viewer, body and affect, (social) platform and metrics, interface and interaction, city and infrastructure, ecology and nature. 
 

One of the key features of postmodernist thinking is the assertion of the fuzzy boundaries between reality and fiction: the realization that in everyday lives fictions, projections or hypothesis-building constantly interact with objects and facts of life (you can call this constructivist thinking); the realization that people’s identities are negotiations between social demands and imaginary projects; the realization that people’s senses of reality are heavily influenced by certain hegemonic (dominating) posits in terms of gender, labor (and consumption), media, race and ethnicity. Brian McHale has characterized the resultant tensions, as they are enacted in literature as “worlds in collision.” Cinema, as an art of montage and suturing, seems predetermined to enact these clashes. In this seminar we will explore the fuzzy boundaries discussing postmodern obsessions such as identities, surfaces, worlds, play, parody, high & low, consumer culture, media, gender performances and difference.

This course approaches media and popular culture as a dynamic field of production, consumption, and contestation. After an initial phase of understanding forms of popular culture, the focus is put primarily on case studies from Japan, along with some comparative examples. This coures examines historical and contemporary meaning-making processes in context, introducing academic vocabulary and approaches while providing tools to examine popular culture and media.  There will also be in-class screenings. By the end of the term, students should be able to think cross-culturally, critically, and collaboratively about not only media and popular culture but also everyday life and the world in which we live.

This course explores Spanish cinema from its origins to the present day including viewings of some of the most representative films of each era.

This course examines the principles and concepts of immersive media. 

This interdisciplinary course offers a captivating exploration of the dynamic portrayal of French youth from the post-World War I era to the present day. Delving into the multifaceted experiences of French youth, it examines how literature, cinema, and societal structures intersect to shape the coming-of-age journey. While the course distinguishes between three pivotal periods in the history of French youth – the interwar period leading up to World War II and its aftermath, the transformative era from May 1968 to the 1990s, and the contemporary landscape from the 2000s to the present – the approach to primary material remains predominantly thematic. Throughout these epochs, the course analyzes how representations of youth have evolved, exploring themes of identity, rebellion, sexuality, and societal expectations. This exploration is guided by questions such as: how do educational institutions shape the experiences and identities of French youth, as depicted in literature and cinema? How do themes of rebellion and revolution intersect with coming-of-age narratives throughout French history? In what ways do representations of youth in cultural artifacts contribute to our understanding of historical events, such as May 1968? How do cultural artifacts produced by and for youth communities challenge mainstream portrayals? Through novels, graphic novels, films, songs, and first-hand experiences of initiatives targeting young people in Paris and its suburbs, the course provides a comprehensive understanding of French youth culture. Analyzing these materials fosters a nuanced comprehension of French youth culture and its representation in various media, equipping students with tools to critically evaluate portrayals of youth in contemporary society. 

This course examines the fundamentals and principles of dramatic writing for screen, providing an immersive experience in the principles of screenplay writing with particular attention paid to visual language, narrative structure, characterization and dialogue, script critiques and the process of rewriting.